The story of a good day of discovery for big and small, on the search for a pair of Peregrine Falcons.Read More
Its been a year since our first trip to the Outer Hebrides in the Winter of 2017, where we recorded the sounds of Julie Brook's fascinating Firestacks. Six months later in the Summer of 2017, we were lucky enough to revisit this stunning corner of the world, on a follow-up assignment; this is a brief account of the experience.
The main focus of these field recording trips is to document the life-cycle of the Firestack; from building, to firing, to extinction, as well as its environment. An important perspective that Julie has always been keen on capturing is the underwater one - what does it sound like under the surface when the tidal waves engulf the Firestacks?
On the first trip we had the privilege to work with a pair of Ambient ASF-1 Hydrophones, which we absolutely loved. The second time round we used a H27S Stereo Hydophone from Monkey Sound - an artisan contact mics manufacturer based in Spain - as well as our old faithful JrF D-Series Hydrophones. The H27S caught our attention because it comes in one casing. Given the rough seas we faced the first time round, it seemed like a practical feature in terms of retrieving the mic planted in the Firestack after the tide has covered it (Firestacks are around 1.5 meters tall at their highest point). These clips give you an idea of the colour and stereo field of this neat, relatively new, hydro-mic on the market.
These are cold long days in a remote bay on the Western-most part of Lewis, and that's what makes it so special. There is practically no shelter, the nature is bare and the exposure to the elements constant. There is virtually no noise pollution, very little chatting between the crew and so the day becomes mostly a long introspective moment. It's a positive experience - you are immersed in the surroundings, constantly active, albeit completely still a lot of the time. The hours fly and before you know it (plus a 40-minute hike) you are back at the bothy, lighting the fire and regaining your extrovert self with the help of a dram of Scotch whisky.
Without a doubt one of the most inspiring assignments we have had the pleasure to work on so far, looking forward to round 3!
What's the most inspirational recording or filming location you have worked in? We'd love to hear your stories, especially if the location was free from noise pollution or on the contrary extremely noisy - you can leave us a comment below.
Next week I’ll be travelling to a remote location on the Outer Hebrides of Scotland to record the sounds of Julie Brook’s captivating ‘Firestacks’, above and underwater. A very exciting project in many ways, not least for the quality noise-pollution-free time I will be having but also because I get to use arguably the best underwater microphone in the market: Ambient Recording's ASF-1 a.k.a The Sound Fish.
I received the microphone yesterday and went straight to the closest water feature to give it a test. I will say straight away that I was blown away by the quality. From feel to looks it is apparently clear this is a superior piece of kit. It ships with a default (thick) 10m long cable and I also got a 50m one as the location I'll be recording in is subject to high tides.
To a Field Recordist, the opportunity of hearing something you’ve never heard before or just hearing it like never before, is the ultimate reward. The ASF-1, with its low noise and wide frequency response, enables just that. My experience with underwater recording so far always left me with a feeling that something was missing. Frequencies mainly but also the sensation that water was an adverse and somehow inaccessible medium for sound. This hydrophone completely removes all those barriers. It gives, allow me the pun, a fully immersive experience. Here's a few downloadable samples:
To sum up, in case it wasn’t clear enough: I’m completely sold. And if I had the money I’d get it straight away, times two. The total cost including underwater accessories would circle around £1500 per mic, so for the moment we’ll stick to renting it from these lovely people.
PS - a short comparison A/B file with the JrF D-Series Hydrophones can be downloaded here - I'll let you draw your own conclusions.
Soundscape field recording from Punta Tombo, Chubut Province, Argentina (44.0454° S, 65.2235° W). Punta Tombo is a 3.5km long, 600m wide peninsula into the Atlantic Ocean, host to the largest colony of Magellanic penguins in the world, with over 200.000 breeding pairs.
In the 1960s the Wildlife Conservation Society (WCS) and Province of Chubut Bureau of Tourism began working together to protect the wildlife of the region. In 1979 Luis and Francisco La Regina donated 210 hectares of their sheep-ranching land to form what is now the Punta Tombo Provincial Reserve (source: http://www.penguinstudies.org/argentina). The penguins arrive here in late September (early spring) and stay until April, protecting their eggs and raising their chicks for the next migration.
I got the chance to visit this wonderful place back in 2010. There weren't many visitors around so I got plenty of quiet time to soak it all in and get a few memorable sound recordings. This nature reserve is well run, with educational information boards about the penguins, their habitat and other animals living here such as gulls, cormorants, rheas and guanacos. The infrastructure is basic, consisting of a wooden walkway that keeps human footprint (literally) to a minimum. Penguins cross your path as they go from the nest to the beach and back. It's all very friendly and there is a real emphasis on respect and conservation, which leaves you feeling assured that these amiable creatures have a safe space to grow and multiply.
Designed For Sound | May 2016 Recap
Focus on the outstanding soundtracks of three French films: Delicatessen (1991), MicMacs (2009) and Zidane: A 21st Century Portrait (2006).Read More